En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Lianna Haroutounian

An excellent cast and smart, engaged direction make for an auspicious season launch in San Francisco Opera’s production of one of Verdi’s most sophisticated creations.  

Moshe Leiser and Patrice Caurier’s production has undergone a year of expert scrutiny before this well-sung revival. 

From stylised 16th-century dress to a 1970s sitcom ballet, Konwitschny's Staatsoper staging is full of brilliantly inventive touches, splendidly realised in this excellently sung revival. 

Llega al Palau de les Arts una producción procedente del Teatro Mariinsky de la última ópera compuesta por Tchaikovsky, Iolanta.

Tenor-turned-director José Cura transplants the action from southern Italy to Buenos Aires. 

Verdi voices that make one sit up and listen made this a memorable matinee.

Seattle Opera's visually poetic and refined Madama Butterfly peeks back at Puccini's own first version of the opera, which was arguably more openly critical of the devastation wrought by imperialism. 

An outstanding Azucena and solid vocal and orchestral performances more than make up for David Bösch's unappealing staging.

Francesco Meli asserts his credentials as one of the top tenors singing Manrico; David Bösch's staging lacks attention to detail.

The Met brought back a 20-year-old traditional production of Simon Boccanegra with a starry cast led by James Levine.

On Harry Kupfer's dramatic set, strong performances by Simon O'Neill (Otello), Lianna Haroutounian (Desdemona) and especially Claudio Sgura (Iago) make Opera Australia's Otello a memorable revival.

A great singing cast and an excellent conducting for the unveiling of Otello's ghosts in Naples.